Pa\u2019\u00c9g\u00f9n<\/a><\/span>
\nHommage to the Ancestors \u2013 <\/strong>Performance original compositions, reflecting the African Diaspora, classical, Afro-Cuban Ritual Music, Chants, Electro-Beatz<\/p>\nHis artistic creations stand for the synthesis of tradition and avantgard<\/strong>. An important part of his presentation is to challenge the boundaries that have been established and encourages a flexibility and fluidity between categories that we construct as a society. To do this, JOAQU\u00edN LA HABANA uses his extensive experience of education in contemporary dance, ballet, theatre and song, merging with the centuries long tradition of Santer\u00eda-Shamanism<\/strong>, whose culture forms the spiritual basis for him.<\/p>\nOriginal West African traditions are linked with spiritual rituals and Cuban theatre, connecting the dualities of the sexes with the gods\u2019 androgynous characteristics. From the metamorphoses of the cosmic powers arise the four elements that constitute the components of his modern performance art.
\nSpirituality and rationality, archaic and postmodern, soul and matter, life and afterlife,<\/strong> they all unfold and unify. The sensuousness of expression opens new ways for the audience to percieve reality.<\/p>\nAND THE ART OF HARMONY OF MULTIPLICITY AND UNITY<\/strong><\/span>
\nIn the visual arts he presents a vivacious spectrum of dance, ballet, opera, operetta, musical, theatre, Cuban folklore and religious rituals. Simultaneously, Joaqu\u00edn depicts and performs the different arts and roles through song and dance, he quickly changes gender roles by changing voice timbre from baritone to mezzo-soprano, and mixes ritual music of archaic cultures with classical church music like H\u00e4ndel or Bach with Latin, jazz, funk and rock. Every performance act is an aspect of Joaqu\u00edn\u2019s artistic facets, not determined by boundaries, with an open heart and mind. This way of performing makes every act different, every show unique, special and tailored for his audience and is spontaneously adjusted according to the reaction of the audience..<\/p>\nWith his artistic range of performances, costumes and voices, Joaqu\u00edn depicts certain truths, but on the other hand, he pushes the boundaries, creates new ones, and implants images and inspirations to awaken new ideas.
\nJoaqu\u00edn\u2019s presentation of spirituality is not depicted solely as a strict religious majesty of monotheistic priests, but instead her uses religious elements that facilitate an act of liberation which the artist conveys through interaction with the audience. Every spiritual and esoteric element emphasises duality and androgenity, resulting in the creation and exploration of an undefinable inner-god.<\/p>\n
In this sense, the theatre is turned into a place where rituals are performed, now taken out from its original context and put in a modern situation, for an immediacy with the audience. In this theatre are represented different continents, religions and cultures brought together and unified. The spectator is led on a journey to the inner self through modern entertainment and its rationalized world to the irrational metaphysical realization of the present moment.<\/p>\n
The costumes have an important role in performances, the painted African bushmen, the apparel of priests and the wooden masks often appear in his shows. The different patterns, forms and colours, is a metaphor of the world over time and space, the body\u2019s movements, mirrors the journey through these different dimensions.<\/p>\n
The diverse costumes represent certain deities. Some costumes cover the whole body, giving him a more abstract, sexless character. This emphasis on colours and shapes is also an attempt to reach a neutral body, connecting the patriarchal and matriarchal structure of the archaic religions abolishing their contrasts.<\/p>\n
JOAQU\u00edN LA HABANA\u2019s current project is the opera Rhapsodia Pa\u2019 \u00c8g\u00fan<\/strong> \u2013 Hommage to the Ancestors. Thematically it is based on the poem \u201cSchwarze Erinnerungen\u201d (\u201cBlack Memories\u201d) from Mark Bauch and sensualizes the Tribute to the ancestors. The Iroko \u2013 called Baobab in West Africa \u2013 is in the middle of the stage a tree where the death meets. The main aspect in this one-man-opera is to overlap the older religions\u2019 time and space with that of the modern. The connection is being effected by bringing electronic music as well as classical, jazz, hip-hop and reggae- ton-beats, also incorporating the specific religions traditional music instruments such as drums, marimba (from Zimbabwe), cello, flute, and Tibetan gong.<\/p>\nWORKSHOPS<\/strong><\/span><\/p>\nIn his workshops, Joaqu\u00edn takes us on a \u201cspiritual trip\u201d of exploration and self-creation. He shows us to what extent a person can understand his or her human character by connecting the emotions and rational dimensions with a reflection of the spiritual.\u00a0 The four-element-system or the ancient mythologies. The different energies of active-passive, male-female and how they join in one organism. Every single element is depicted and felt separately through certain. The leading questions are for example; \u201cWhat is water and how do I sense it in my body?\u201d \u201cHow does it depict itself for me as an individual and what does this feeling mean to me?\u201d. Another question developed from this is what element is more attractive to what personality.
\nThe dance is lead by the percussion which is enriched and generated from electric sound-effects. The union of sound, rhythm and movements generates new experiences with emotions, making you feel as apart of the objects, the communication and the world, intensifying the experience of being.<\/p>\n
A further part of the workshop is the play with masks and costumes that serves the free roll-switching and the creative self-staging. The goal is to break old traditional barriers, to experience new \u201cI-boundaries\u201d, mirror your inner self for observation and exploration. \u00a0Joaqu\u00edn puts a great emphasis on the free and experimental development of every participant: Every person should find out after his\/her age and temperament an individual personality nuances and goals and act out them out. Whether the result is inner calm or a fiery and explorative urge, the choice is in every individual to take.<\/p>\n
BIOGRAPHY<\/strong><\/span>
\nJOAQU\u00edN LA HABANA REYES was born in Cuba in August 1952, into a musical family. Joaqu\u00edn\u2019s aunt is singer OLGA RIVERO<\/strong> and his cousin is the percussionist \u201cPATATO VALDES\u201d,<\/strong> and through their international recordings became famous beyond the borders of Cuba. Following a competition in Cuba age 12 , he got a scholarship for the public art school San Alejandro, Havana, to study painting, sculpting and ceramics. In 1966 Joaqu\u00edn settled in USA where he graduated from high school. Three years later, in 1969, he studies music, dance and avant-garde theatre at the conservatory in Boston, Massachusetts (USA). He was the guest choreographer of the experimental Cambridge-Dance-Theatre in Loeb Drama Center at Harvard University, USA.
\nJoaqu\u00edn has also worked with different chamber opera ensembles at renowned universities such as Harvard University, Radcliffe, New England School of Art, North-Eastern University and MIT (Massachusetts Institute of Technology).
\nBetween the years 1967-1971 he studied modern dance, Afro-hindu dance, Afro-Haiti dance in the Dance Circle of Boston and in the Elmer Lewis Afro-American Dance Centre with renowned teachers such as James Truitti, Geoffrey Holder, Talley Batty, Charles Moore and Eugene Compson.<\/p>\nAfter the move to New York in autumn 1971, La Habana specialized in multimedia performance. The teachers of this new theatre direction are pioneers of this field – MERCE CUNNINGHAM and ALWIN NIKOLAIS.<\/strong> His got his training in modern dance and jazz dance at studios of teachers like JOS\u00c9 LIMON, PHIL BLACK, LUIGI. Under ALVIN AILEY<\/strong> he studied the technique of Horton and Cath Serine Dunham. As well as dance, he studied singing in New York by the famous teacher of art songs LYDIA DE RIVIERA<\/strong> and he became familiar with a wide repertoire of Cuban art songs and operetta-vocals as well as Spanish Zarzuela.
\nReligiously Joaqu\u00edn La Habana originates from the Yoruba-community. He is initiated in the Santero (Oshun-Priests) and was instrumental in the direction of Folklore and contemporary dance in the mid 80s in Havana, Cuba, with the ENA (National Art School), the \u201cConjunto Folcl\u00f3rico Nacional<\/em>\u201d and \u201cCuba Danza\u201d<\/em>.<\/p>\nIn the years between 1971 and 1981 Joaqu\u00edn La Habana performed in many bilingual productions (Spanish-English). Among that he was in different \u201cOff Broadway\u201d<\/em> theatres: La Mama ETC, WPA THR, Actor\u2019s Studio. Finally he made a jump to BROADWAY<\/strong> where he performed with IRENE CARA<\/strong> in \u201cGotta go Disco\u201d.
\nJoaqu\u00edn has appeared in films, such as \u201cTHE BRONX\u201d<\/strong> (with Paul Newman) and the musical \u201cHAIR\u201d<\/strong> and \u201cTHE WIZ<\/strong>\u201d (with Michael Jackson and Diana Ross). During this time he had also a role in the dance-ensemble Le Clique Fantasie Follies\u201d in the TOM JONES SHOW<\/strong> at Cesars Palace, Las Vegas.<\/p>\nIn 1981 Joaqu\u00edn moved to Berlin and began a series of shows in the Carribean, Canada and all over Europe, where he performs art songs and Cuban Folklore. These were to be heard on theatre stages, in radio, TV and in movies. Since this time, he made numerous of co operations with Rosa von Praunheim, for example \u201cStadt der verlorenen Seelen\u201d, 1981.
\nIn 1986 Joaqu\u00edn organized the first \u201cFESTIVAL KUBANISCHER KULTUR\u201d (<\/strong>Festival of Cuban Culture) at the K\u00fcnstlerhaus Bethanien, Berlin. This festival was a start of an intensive co-operation with ELENA GARC\u00cdA<\/strong> (soloist of the \u201cConjunto Folkl\u00f3rico), whom he invited as a choreographer and solodancer and later co-founded the group IROKO<\/strong> (contemporary Afro-Cuban dance theatre) in Miami, Florida. With this production they went on a tour to Argentina, Germany, Spain and USA. Parallel to his work in the theatre and in film, he studied the African culture and its artistic expressions by masters in this field: KOFFI KOKO<\/strong> (Rep. Benin) and GERMAINE ACOGNY (Senegal). Joaqu\u00edn made collaborations with MAYMONA SUMB\u00da<\/strong> (Guinea Bissau), PARANA BOMFIM<\/strong> (Brazil), MURAH SOARES<\/strong> (Brazil) and ELISE PINTO<\/strong> (Brazil).
\nPARTICIPATION ON FESTIVALS, PERFORMANCES<\/strong><\/p>\n\n- 1986<\/strong> \u2018Fest der Freundschaft\u2019, co-production in exchange of the Technische Universit\u00e4t (TU) Berlin, Germany and Alicante University, Spain. Choreographer and headliner.<\/li>\n
- 1987<\/strong> \u2018Caravan of Gods\u2019 (Afro-cuban Ritual Images). The Helsinki Academy of Visual Arts, Helsinki, Finland.\u00a0By and with Joaquin La Habana.<\/li>\n
- 1988<\/strong> \u2018Kuopio Tanssii Ja Soi\u2019 (International music- and dance festival, Finland). Choreography: \u2018Karawane der G\u00f6tter\u2019<\/li>\n
- 1989<\/strong> Multi-media performances together with the painter\u00a0Sanna Karisson<\/li>\n
- 1989<\/strong> his production \u201cCaravan of Gods\u201d was performed first in the Cinema-Helsinki-Theatre.<\/li>\n
- 1990<\/strong> Muury Avant Gard Center, Helsinki, finnland Choreographie: \u2018The tree of Life\u2019 (\u2018Der Lebensbaum\u2019)<\/li>\n
- 1990<\/strong> he worked together with the Nigerian culture situated in Berlin – and performance theatre in Berlin and Nigeria.,<\/li>\n
- 1990<\/strong> his play \u2018Caravan of the Gods\u2019 was performed on the International Modern-Dance-Festival
\n\u2018Cuba Danza\u2019 in the Teatro Nacional in Havana, Cuba.<\/li>\n- 1991<\/strong> \u2018Oshon Festival\u2019 in Oshogbo, Nigeria<\/li>\n
- 1991<\/strong> he created a transformation show for the Sommertheater Stuttgart which was unique, live and sung with various voices.<\/li>\n
- 1992<\/strong> he attended a further training in the \u201cEscuela Nacional de Arte\u201d in Cuba.<\/li>\n
- 1993<\/strong> Statthaus B\u00f6cklerpark, Berlin \/Germany, guest of the Yoruba dance and theatre group \u2018Ojiji Aparo\u2019, \u2018Cuba Danza\u2019, Laboratorio International de Taller Coreogr\u00e1fico with Ramiro Guerra, La Habana, Cuba choreography: \u2018Caravane de Dioses\u2019<\/li>\n
- 1993<\/strong> he founded his own dance theatre \u201cIROKO\u201d in Miami Florida together with Elena Garcia.
\nAfter that he had some shows in Argentina and was seen in several TV shows.<\/li>\n- 1994<\/strong> he played the guest star roles of \u2018Chantal\u2019 and of \u2018Mr Renaud\u2019 in the Dick Price production by \u2018Cage aux folles\u2019 at the Landestheater Linz in Austria.<\/li>\n
- 1995<\/strong> he worked for dance ensembles and for folkloric groups for the \u2019Werkstatt der Kulturen\u2019 (workshop of cultures) and for the \u2018Haus der Kulturen der Welt\u2019 (house of the world`s cultures), Berlin.<\/li>\n
- 1996<\/strong> he produced his maxi-single CD \u2018B\u00e9same mucho\u2019 (in the distribution of AIRAM-Records-Germany) with the music band \u2018Latin Spektrum\u2019 , and appeared with the group at the Latin music days in the \u2018Werkstatt der Kulturen\u2019 and \u2018UFA-Fabrik\u2019 in Berlin. He also performed with the group \u2018Sontrobon\u2019 on the festival \u2018M\u00fasica Vitale\u2019 in the \u2018Werkstatt der Kulturen\u2019 in Berlin.<\/li>\n
- Since 1996<\/strong> he has been taking part with his own production and choreography for the \u201cJOAQUIN LA HABANA\u2019s CARNIVAL ENSEMBLE<\/strong>\u201d with around 60 participants in the \u201cKarneval der Kulturen\u201d in Berlin.<\/li>\n
- 1996 to 2001<\/strong> Joaquin La Habana is engaged as headliner and presenter in three different productions in the revue theatre \u2018La vie en Rose\u2019, Berlin.<\/li>\n
- 1996-1998<\/strong> he appeared on the \u2018Fest der Farben\u2019, congress hall, Berlin, Alexanderplatz, with the program \u2018Fantasia Cubana\u2019 with HAVANA DANCE GIRLS & TROPIGALA DANCERS managed by Joaquin La Habana. He took part at the Latin Music Days in Berlin with the group \u201cLatin Spektrum\u201d and at \u201cMusica Vitale\u201d, Wekstatt der Kulturen, Berlin with the group \u201cSon Tromb\u00f3n\u201d.<\/li>\n
- May 1998<\/strong> he took part in the \u2018FEST DER NATIONEN\u2019 in Berlin with the program \u2018Fantasia Cubana\u2019.<\/li>\n
- April 1999<\/strong> La Habana performed in\u2019riesa efau\u2019, Dresden with his play \u2018Cubanische Rhapsodie\u2019, a scenic concert with dance, singing and play.<\/li>\n
- July 1999<\/strong> La Habana appeared with \u201cCubanische Rhapsodie\u201d in Theatre of Meissen with stories, chansons and dances from Cuba.<\/li>\n
- Dec. 1999<\/strong> religious installing for the holy Barbara \u2013 canticles for Chang\u00f3 and performance with the Cubanic music theatre group \u2018Raices\u2019 in the Naturkundev\u00f6lkermuseum Dahlem, Berlin on the \u2018Markt der Kontinente\u2019, Afro-America exhibition as well as guest performer of the group \u2018Egungun\/Adeika\u2019, mask dances, from Nigeria on the Markt der Kontinente (market of the continents).<\/li>\n
- Dec 1999<\/strong> configuration of the \u2018Fiesta Cubana\u2019, new years party, at the \u2018Haus der Kulturen der Welt\u2019, Berlin and performance with the \u2018Tropicana Show\u2019.<\/li>\n
- June 2000<\/strong> \u2018Ritual-Performances\u2019 on the festival \u2018Sommernachtstraum\u2019 on castle Quedlinburg, Saxony-Anhalt (a play for the forefathers with African, North-indian and Indian elements).<\/li>\n
- June 2000<\/strong> \u2018Hommage an Tropicana\u2019, one-man revue music theatre on the \u2018Elbhang Fest\u2019, artist house \u2013 court Cuban night, Dresden.<\/li>\n
- Sept. 2000<\/strong> guest singer of the group \u2018Phoenix\u2019 at the music night for human rights in \u2018Kultursaal Petersburg\u2019 Erfurt.<\/li>\n
- Oct. 2000<\/strong> EXPO 2000, La Habana took part in the international good-bye-parade through the organisation of the \u2018Karneval der Kulturen\u2019, Berlin.<\/li>\n
- Dec. 2000<\/strong> guest singer in SHARIFA`s ensemble \u2018The High Priestess of Jazz\u2019 in the Volkspark Theatre, Halle.<\/li>\n
- June, July 2001<\/strong> he was an assistant director and decoration for the episode\u2019Havanna Dream\u2019 from the ZDF
\nTV series \u2018Stubbe \u2013 Von Fall zu Fall\u2019.<\/li>\n- Aug. 2001<\/strong> he did a solo performance in the Afro-Caribbean program \u201cGoldenes Ritual f\u00fcr die Orishas G\u00f6tter\u201d within the exhibition \u201cReligi\u00f6ser Synkretismus aus der Karibik und aus Brasilien\u201d of the artists. Mayan\u00edn Villamediana in the ICBRA (Brazilian Culture Institute in Germany), Berlin.<\/li>\n
- Oct. 2001<\/strong> \u201eSerenata Cubana\u201c , a musical trip through Cubas saloons and theatres of the XIX. and XX. centuries, Bellevue, Berlin<\/li>\n
- Dec. 2001<\/strong> AFRO CUBAN NIGHT, Religious dance-performances in MoKATO, Berlin<\/li>\n
- Jan, 2002<\/strong> \u201eFertility Gods\u201c, ritual dance-theatre , Kulturbrauerei, Kesselhaus Berlin<\/li>\n
- Mar. 2002<\/strong> \u201ePassage\u201c, Ritual music-poetry dance-theatre (West Africa, East Europa to India, North America (Indianer) Project of the \u201ceurop\u00e4ische Kulturbundes\u201d<\/li>\n
- Mai 2002<\/strong> Collaboration as choreograph + dancer\/singer in Glogow, Wroclaw, Polen
\nLorenzkirche Erfurt, Germany.<\/li>\n- Jul. 2002<\/strong> \u201eFestival Latino Americano\u201c in Kulturzentrum Kesselberg, e.V., Berlin<\/li>\n
- Musictheatre \u201eSerenata Cubana\u201c and \u201eDioses de la Fertilidad\u201c (\u201eFruchtbarkeitsg\u00f6tter\u201c), Dance- drum Performance<\/li>\n
- Sept. 2002<\/strong> \u201eSerenata Cubana\u201c, Teehaus in Englischen Garten, Berlin<\/li>\n
- Oct. 2003<\/strong> \u201eSerenata Cubana\u201c Casa de la Cultura de San Miguel del Padr\u00f3n, La Habana<\/li>\n
- Jan. 2003<\/strong> \u201eDioses de la fertilidad\u201c, Casa de la Cultura de San Miguel del Padr\u00f3n
\nLa Habana\/Kuba Choreography and staging \u201ePanorama kubanischer Kultur\u201c fort he Cuban embassy, Berlin, at the Iberoamerikanischen Institute, Berlin for the 150. Geburtstages of Jos\u00e9 Mart\u00ed<\/li>\n- Apr.\/ 2003<\/strong> Gueastsinger and \u2013dancer at \u201eSon Caribe\u201c for \u201eKaribischen Kulturtagen\u201c, Rathaus K\u00f6penick, Berlin<\/li>\n
- Aug.\/ 2003<\/strong> Creative director, Choreographiy, dancer singer at the \u201eCuba-Party\u201c, M\u00e4rkisches Zentrum, Berlin
\nSpringtime Fitness & Dance Studio. Dance workshop in the set \u201aLiving Legends\u2018 for Contemporary Ritual Dance Theatre und Gastdozent for ICAT<\/li>\n- Mai\/ 2004<\/strong> Participant with \u201cJoaqu\u00edn Carneval Ensemble\u201c (60 Pers.) Karneval der Kulturen, Berlin
\nInvolvement in the Firma Henn Promotion\u2013Music Events as dancer and singer.<\/li>\n- June 2004<\/strong> Participant with his own show and traditional dance cultures \u201eBewegte Welten\u201c, Neuk\u00f6lln, Berlin<\/li>\n
- July 2004<\/strong> Participant at the Galashow fort the opening of the renovated Olympia-Stadions in Berlin with his own Cuban dance ensemble, with whom he performs since 1997 at Karneval der Kulturen (Berlin)
\nParticipant at ZDF Garten Show with Roberto Blanco, Captain Jack, Carmen Zapata.<\/li>\n- Aug. 2004<\/strong> Fest der Kontinente\u2018, M\u00e4rkisches Zentrum Berlin, Participant with own Show, big Ensemble 70 Persons<\/li>\n
- Oct. 2004<\/strong> Solo at the gala celebration of 10 year of Werkstatt der Kulturen, Berlin Kulturhaus Kammerspiel Kleinmachnow, \u201eSerenata Cubana\u201c<\/li>\n
- Dec. 2004<\/strong> Sylvestershow at the big stage on Brandenburger Tor, Berlin<\/li>\n
- March 2005<\/strong> Kulturforum Hellersdorf \u201eSerenata Cubana\u201c<\/li>\n
- Mai 2005<\/strong> Participant with \u201cJoaqu\u00edn Carneval Ensemble\u201c (60 Pers.) at the Karneval der Kulturen, Berlin<\/li>\n
- June 2005<\/strong> Participant with his own Show and Ensemble at the party for modern and traditional dance cultures \u201eBewegte Welten\u201c, Neuk\u00f6lln, Berlin
\nParticipant with own Show b. OBERBAUM BR\u00dcCKENFEST, Berlin<\/li>\n- Aug. 2005<\/strong> IFA Berlin, Sommergarten, Show International Summerhits\u201c with Henn-Promotion\u201a Fest der Kontinente\u2018, M\u00e4rkisches Zentrum (Berlin), Participant with his own Ensemble (15 Persons) Teehaus in Englischen Garten, Berlin, cooperation (song and dance) with cuban-german. Music-Ensemble Son-Tromb\u00f3n<\/li>\n
- Dec. 2005<\/strong> Sylvestershows at Brandenburger Tor and Hilton Hotel, Berlin
\nMarch- May Engagement in Revuetheater \u201eLa Vie en Rose\u201c and Hotel Mercure, Berlin Tegel, with his own Show \u201eVariet\u00e9 Tropicana \u2013 Cuban\u00edsimo Show\u201c<\/li>\n- April 2006<\/strong> Baumbl\u00fctenfest in Werder\/Havel, with the World Music Company with Henn-Promotion, Berlin artistic concept, direction and performance for the Cuba-Libre Party in the legendary Postbahnhof at Ostbahnhof, Berlin, for Piranha-Event GmbH<\/li>\n
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JOAQU\u00cdN LA HABANA Latin-Funk Caribbean Pop-Jazz Electro<\/div><\/div><\/div><\/li>\n![\"\"](\"https:\/\/ahoi-kultur.de\/wp-content\/uploads\/2013\/10\/joaquin_la_habana_01-350x350.jpg\")
JOAQU\u00cdN LA HABANA Dancer, Singer, Sanateria-Shaman<\/div><\/div><\/div><\/li>\n![\"\"](\"https:\/\/ahoi-kultur.de\/wp-content\/uploads\/2015\/03\/Joaquin-La-Habana_Transformations_rainbow-f\u00e4cher_by-Fin-Porzner.klein_-350x350.jpg\")
JOAQU\u00cdN LA HABANA \"My Own Free Way\"<\/div><\/div><\/div><\/li>\n![\"\"](\"https:\/\/ahoi-kultur.de\/wp-content\/uploads\/2013\/10\/joaquin_la_habana_03-350x350.jpg\")
Joaqu\u00edn La Habana, AfroCuban singer & dancer<\/div><\/div><\/div><\/li>\n <\/ul>\n <\/div>\n \n <\/div>\n<\/div>